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On , his 10th album, Manson embraces the tropes that made him a menace and a rock star and a stalwart of goth.
Songs called “SAY10” and “JE$U$ CRI$I$” sound like someone making fun of witch house band Salem—it’s telling that, in 2017, Manson doesn’t come off like a parody of himself but of his musical descendants. A tinny ‘90s guitar tone powers “WE KNOW WHERE YOU FUCKING LIVE,” whose chorus, naturally, comprises Manson screaming the title twice over a power chord riff. While the lyrics to “Tattooed in Reverse” might trot out clumsily—it starts with “fuck your bible” and then Manson rhymes “showhorse” with “of course” right after making a “stable” pun—the song boasts a chorus as catchy as anything since “The Dope Show.” “Blood Honey,” meanwhile, is a visceral ode to kink that, like good sex, saves its most explosive moments for last.
But Manson has always seemed most comfortable deeply within the confines of his genre, repetitive as he may have become.This is his turf, and rather than expand it, he seeks to defend it, to reiterate his idiosyncratic spot in popular culture so no one forgets it’s his.The shock value of his work long worn off, Manson now occupies a curiously nostalgic space among rock lifers.No one would care if he couldn’t write hooks, and hooks he’s still got—dressed up, as ever, like the Babadook at a wine party.Many of these songs rehash some of Manson’s earlier and even recent musical ideas.
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To listen to his albums is to indulge the same impulse that’s tacked “666” to the end of so many Twitter handles.